As far as I could tell, Murch’s talk had no title, but the concept he threw out early on was “fungibility,” one meaning of which is being capable of changing easily. The example he gave was a caterpillar changing into a butterfly. Murch was referring to the digital revolution in film editing. This was not so much a how-to talk as an attempt to demonstrate the dramatic changes that have come about as a result of rapidly changing technologies. Murch showed a photo of himself struggling with 35mm film strips in editing Apocalypse Now in the 1970s (above). Now, of course, there would be no such physical sorting and splicing. He then pointed out the sheer weight of film, which has been entirely eliminated: As the graphic shows, a single 1000-foot reel of 35mm film weighs 11 pounds. The strips ofApocalypse Now in the photo above were part of workprint material totaling 7 tons. If Murch’s latest film, Particle Fever, had been edited on 35mm, he would have had to deal with far more, 16 tons of film. It simply would have been impossible to edit such a quantity of footage. (Would a hard-drive with a complete feature film on it weight measurably more than a blank one? he wondered.) For Particle Fever, Murch used Final Cut Pro 7–an statement that led to scattered applause from the audience. Like Murch, users of that program are loyal to it, but as he pointed out, a 32-bit program simply can’t keep up with modern demands for memory. While editing, he kept running into situations where there was no memory left, and he had to use elaborate and time-consuming methods to free up storage space. (The film ended up with 18 terabytes of material stored.) On his current project, Tomorrowland, he is using a 64-bit Avid program and has had no problem running out of memory. (Tomorrowland is being made here in Vancouver, which is presumably why we had the privilege of Murch’s participation in the forum.) Murch showed a timeline graphic for Particle Fever, with multiple image track, dialogue tracks, effects tracks, musical tracks, and so on. Each small horizontal line represents a separate track: Even while working on this level of complex technology, however, Murch sticks to simple methods for some of his planning. He creates a “scene board” using cards coded with colors, sizes, and shapes . The little green triangles create a chronology, giving the years covered by each set of scenes: As with Rossio’s system of storing his scenes in a way that allows him to change their order, Murch can move the cards around if the structure of the film changes. Murch put it this way: “I would suggest reversion to kindergarten.” He also showed some photos of his workspaces for various projects. One was intriguing for indicating how important perspective is for editing. One workroom contained a 50-inch monitor for playing back scenes as he edits them. (See bottom.) Note the little white figures of a man and a woman at the bottom corners of the screen. Murch wanted to keep scale in mind, and the figures represent normal-sized people at the proportionate size they would appear if the monitor were a forty-foot theatrical screen. This photo inspired someone during the question session to ask whether the increasing tendency for people to watch movies on very small digital screens has influenced Murch’s editing decisions. He replied that it has to some extent, though from the beginning of his career at the end of the 1960s he has had to keep the smaller television screen in mind. Yet he does not edit primarily for the tiny images on mobile devices: “If you cut for the big screen, it will work for the small screen. If you cut for the small screen, it won’t work as well for the big screen.” The Master speaks. So far, the theatrical experience remains the basis for moviemaking.
The Guardian has a video interview with Walter Murch discussing Particle Fever. A monitor in Walter Murch’s workspace, with two white human figures at the lower corners to indicate scale. Sunday | October 6, 2013 |